"Country Comfort" is a 2002 interview by Alexis Georgopoulos. It originally appeared in URB magazine.
This is an original text copied verbatim from the original source. Do not edit this text to correct errors or misspellings. Aside from added wikilinks, this text is exactly as it originally appeared.
Rural shut-ins Boards of Canada fit nightmares, rainbows and David Koresh into the melodic mathematics of their beautiful new album.
If Boards of Canada's songs could, they would come to life. Children would appear dressed in striped T-shirts and corduroys, shaggy hair framing their fresh faces, grass stains on their knees. The sun would beam down rippling rays of golden white and kaleidoscopic pastels. And honey laughter would careen off the sky's canopy, quivering with he rush of playground love and infinite possibility. Alas, lest you think this a spotless utopia, someone would be hidden in the bushes watching. And not with the best of intentions./boc-old/ Back after four years holed up in a remote bunker in rural Scotland, Marcus Eoin and Michael Sandison are following up 2000's In a Beautiful Place Out in the Country EP with the psychedelic diorama that is Geogaddi. Like nearly all the releases that have preceded it, Geogaddi is less a collection of songs than a world unto itself, unfurling in sheaths of warbling analog synth melodies and tripped-out Sugar Hill-meets-Autechre beats. It's the aural equivalent of sitting on your analyst's couch, rummaging through a past you're still trying to make sense of. /boc-old/ Loathing publicity and its trappings, the reclusive duo decided on doing minimal promotion for Geogaddi. What follows is one of the very few interviews to follow the album's release.
I've always thought that hype does a disservice to the things it seeks to elevate in that it doesn't allow for personal discovery. Instead, it imposes heightened expectation and scrutiny.
You have said that you're turned off by electronic musicians' celebration of the technological and urban. Still, even though you live in the country, it seems urbania hasn't left your songs altogether.
Geogaddi continues your contrast of naïve, childlike sounds and imagery with unsettling, ominous atmospheres. What draws you to this juxtaposition?
Your titles often reference geometry, numbers. Are you trying to draw parallels between natural patterns and technological ones?
The In a Beautiful Place Out in the country EP features both an image of David Koresh and a reference to him in the lyrics. Geogaddi was sequenced to play at 66 minutes and 6 seconds, you have a song titled "The Devil is in the Details" and at the All Tomorrow Parties music festival, your films featured clips of people losing themselves in euphoric religious abandon. What gives with the cultish phenomena?
Geogaddi's cover art is very reminiscent of children's educational filmstrips. Were you going for this specific aesthetic?
interview by by Alexis Georgopoulos, June 2002.
For pages about articles/interviews that have no scans available. Using this template adds the page to Category: Articles needing scans.